Amanda North, Senior Fine Art Specialist, speaks with Anna Mortley, director of William Mora Galleries and manager of the Mirka Mora Estate.
For those that do not already know, tell us about your connection to Mirka Mora and William Mora Galleries.
I grew up in Paris. When I arrived in Melbourne, I met Mirka and spent time with her during the last decade of her life. She was my mother-in-law. Having a background in visual and performing arts, William (Mora) and I shared a strong connection in art which eventuated in us working together in the gallery quite early on in our relationship. In 2018, when Mirka passed away, we started the process of organising her Estate. For 9 months, I photographed and catalogued her works. We kept on finding hidden treasures -mostly works on paper in books, boxes, shelves… I will never forget this. It was both magical and daunting!
In the Valley of Love 2001
gouache on paper. © The Estate of Mirka Mora. Courtesy William Mora Galleries
Mirka worked across different media, some of which will be highlighted in Leonard Joel’s upcoming Women Artist Auction. Was she drawn to one medium more than others?
Mirka mastered many techniques. She allowed herself to break the rules. She would say, “I never follow the recipes.” In the Women Artists auction, you can see a selection of works on paper, canvas, soft sculptures, an embroidery, and some rare ceramics. She always had several things on the go.
Mirka’s textile works were made in the seventies and early eighties. As you will notice in this embroidery, the amount of work is incredibly detailed. Ports and Harbours is made of embroidery thread, beads, synthetic polymer paint on cotton and synthetic textile backing – a real testimony to Mirka’s devotion to her works. This embroidery is an ode to her beloved St Kilda beach; she describes the stars as “precious stones”.
Ultimately, I would say that Mirka was essentially a painter at heart, and every other medium she used really was to prepare for paintings or an extension of that. She fully committed to oil painting in her thirties. However, after her separation with Georges Mora in 1970, she claimed she was too sad to paint, so she started making dolls. “As a rule, I do not paint when I’m distressed, I like to have a clear mind.”
Mirka could easily go from one medium to another. You can see the thinking process in each piece. She drew all her life, and also wrote, leaving many journals. She just had this need to keep creating or “working” as she would have said.
Do you have a favourite artwork in the selection of works we are auctioning in the Women Artists sale?
I am very drawn to In the Valley of Love (2001), because of the colours and that sense of space that is created by the two green hills. There is something gentle and almost dreamlike about the way the faces hold the scene – a world you can escape into. This piece features a touch of landscape, which is rare. Mirka once said: “I’m preparing myself to paint a landscape in my very old age, and it will be my Australian testament.”
Ports and Harbours 1978
embroidery thread, beads, synthetic polymer painton cotton and synthetic textile backing
© The Estate of Mirka Mora. Courtesy William Mora Galleries. Photo by Mark Ashkanasy
The Estate of Mirka Mora has done an incredible job in preserving and sharing Mirka’s legacy. What does that work look like behind the scenes—from conservation to curation?
The work in the Estate is continuous, ongoing, and on all fronts at the same time. Mirka was prolific, to say the least, and a very hard worker. She has left behind many sketchbooks, notes, letters… The size of the collection requires constant attention.
I feel very fortunate to be working with Eleni Papavasileio – who curated the 2021 Mirka survey at the Jewish Museum of Australia – bringing her expertise to the Estate as we catalogue the archive and rehouse the works on paper. The tasks range from identifying what needs to be repaired so that we can attend to that, to creating a filing system that enables us to have fast access to the data to facilitate the curation or loans. We aim for the rehousing to take place using acid free and inert archival grade materials.
A couple of times a year, I select a group of works on paper and take them to the framers. The works are mounted and framed. This creates a robust layer of protection against external agents of deterioration such as dust and unnecessary handling, while allowing the works to exist in a microclimate, thus aiding their longer-term preservation.
What have become the most important aspects in managing the Estate and preserving Mirka’s art and legacy?
The most important aspects in managing Mirka’s Estate are ensuring that her art is well documented, kept in a safe environment, and accessible to the general public through regular exhibitions and partnerships with public institutions. It’s also vital to preserve the spirit of Mirka’s practice – her curiosity, and unwavering dedication to making – so that future generations can engage with her work in a meaningful way.
Finally, if there is one thing you would like people to take away from Mirka’s life and work today, what would it be?
I love the certainty in her work. Every piece shows how she embraced life – a combination of tenderness and fierce strength. I hope people are reminded that creativity can be both a form of resilience and a celebration of being alive.
With thanks to Anna Mortley for her time.
Our Women Artists Auction will take place on Monday 22 September at 6pm in Melbourne. For viewing times and to see the full catalogue please visit our website.
By Amanda North, Senior Fine Art Specialist
Top Image: Mirka Mora on chair smiling, Rankins Lane, Naarm, Melbourne, 1977. Photo by Stella Sallman
August 2025